Conflicts, Musings, and Marvelous Insights: The Life of Captain Marvel #1

The following is my review of The Life of Captain Marvel #1, which was posted on PopMatters.com.

No character becomes iconic without going through a process. Sometimes, it happens unexpectedly. It's hard to imagine that Stan Lee knew Spider-Man's when he first introduced him in the pages of Amazing Fantasy #15. Most heroes only gain that status through a combination of luck, appeal, and growth. In the case of Carol Danvers, these factors aren't always present. In fact, throughout her history, she makes due with limited opportunities. In a world that contains the likes of Spider-Man, Captain America, and Wolverine, that's understandable.

Then, Kelly Sue DeConnick comes along and takes Carol Danvers to new heights with her run on Captain Marvel in 2012. After years as a supporting character stuck in niche roles, Carol finally establishes herself as someone worthy of being in the upper levels of Marvel's pantheon of icons. By shedding her former title and embracing that of Captain Marvel, she becomes someone who can hold her own in landscape crowded with notable names. That ascension isn't always smooth and even stalls somewhat due to the events of Civil War II, but it brings out the complexities of a character that finally has a chance to realize her full potential.

With an elevated role and an upcoming movie starting Brie Larson on the way, there's a greater sense of urgency for Marvel to maximize the appeal of Captain Marvel. Margaret Stohl, who has been doing most of the heavy lifting on Carol's story after DeConnick's departure, has an opportunity to add new layers to Captain Marvel's ongoing growth through The Life of Captain Marvel #1. It's not so much a re-telling of Carol's origins as it is an expansion.

It's a new bridge between the present and the past of a character whose story isn't as well-known as the Peter Parkers and Steve Rogers of the world. That gives Stohl an opportunity to build on the non-alien portion of Carol's story and she really runs with it. There aren't any epic space battles, Hydra agents, or Hulk-like monsters. Most of the story takes place in Harpswell, Maine. It's not the Kree home world, but just being there ends up hitting Carol harder than a fleet of Kree warships.

She doesn't go there for the sake of nostalgia, though. What prompts this homecoming is actually something more personal. It has nothing to do with a high school bully or a childhood crush. It has everything to do with it being Father's Day, which makes Carol relieve some very unpleasant memories. However, these are not the kinds of daddy issues that make for one too many John Hughes movies. It serves as the basis for one of the biggest upheavals in Carol Danvers' life and it doesn't even involve aliens.

It's a stark contrast to the standard narrative surrounding Carol since she took the mantle of Captain Marvel. Part of embracing that title means flying higher and looking forward, something Carol rarely hesitates to do when there are aliens and Hydra soldiers to punch. She's a tough, driven woman who just happens to have the kind of power and grit to go farther than most people imagine. The idea of her still being anchored by unresolved issues in the past seems antithetical to the arc she's been on for the past several years. However, that's exactly what her character needs.

That's not just because she has a movie coming out in March 2019. Carol eagerness to lead the charge into a fight makes her one of Marvel's most prominent superheroes, as well as an inspiration and a leader. It also rarely puts her in a position to confront old scars, of which she has a few. For years, the most notable issue she deals with was alcoholism. Stohl doesn't try to revisit that. Instead, she establishes a new issue that links the past and the present.

That past is largely driven by her father and his not-so-heroic temper. The present deals in the consequences he left in his wake, the most painful of which is felt by Carol's brother, Joe Junior. What happens to him as he reconnects with Carol puts her in a situation where she can't just fight her way out it like Captain Marvel. She can't just fly away, either. She has to stick around in this place that brings up so many unpleasant memories. For someone who works with the likes of Tony Stark, Hulk, and skilled sorcerers, that's saying something.

As a result, Stohl provides some overdue, but welcome insight into Carol Danvers. Her experiences with her family and her reaction to the tragedies that unfold do more to humanize her. It's not just that she interacts with her family and espouses her love of donuts. She willingly opens old wounds and reveals that, for all her power and bravado, she still struggles to cope. It provides a new context for who she is as a person rather than an accomplished superhero. The fact she is so annoyed by Harpswell using her history there to promote tourism reveals that there's a disconnect between Carol Danvers and Captain Marvel.

It's a struggle that affects Peter Parker every other day as Spider-Man. It's also a struggle that Kamala Khan, Carol's biggest fan, is just starting to learn as Ms. Marvel. Carol may give the impression that she's beyond those issues of less experienced heroes, but The Life of Captain Marvel #1 shows that's not the case. It also hints that there are other complications she doesn't know about that may deepen those wounds. There's even a hint that aliens are involved, which is in keeping with Carol's tendency to attract other worldly trouble.

It also provides another potential link between the present and the past. It even promises to expand on the issues with her father, which is critical if he's going to be more than just a generic abuser with the depth of a Hydra foot soldier. The potential for major revelations, as well as space battles mixed with personal upheaval, is certainly there. The details are somewhat vague, almost to an excessive degree. However, it does more than enough to set up a more nuanced battle for Carol that can't be blown up or attributed to alcoholism.

There are some narratives that work in any time or place in a character's development. Sometimes, though, having it unfold at a certain time within a certain context makes it even more effective. The Life of Captain Marvel #1 gets the timing, the context, and everything in between just right for Carol Danvers. It feels like one of those defining stories that needs to be told before a character can be elevated to the same level of a Captain America or Iron Man. Carol is already ascending and with Brie Larson set to bring her to life in the Marvel Cinematic Universe, it's safe to say she's almost there.

Final Score: 9 out of 10

Milestones, Achievements, and Slumber Parties: Ms. Marvel #31

The following is my review of Ms. Marvel #31, which was posted on PopMatters.com.

Every now and then, a popular character comes along who reveals more about the audience than the world they inhabit. Over the past five years, few characters have proved more revealing than Kamala Khan and it's not just because she takes a moniker once held by Carol Danvers. A big part of her appeal comes from her being a self-proclaimed superhero fan. Before she gets her powers, she carries herself the same way many fans in the real world do, writing fan fiction and participating in debates on message boards over who can lift Thor's hammer.

Another part of her appeal comes from her reflecting the growing diversity of the real world. She's the daughter of Pakistani immigrants, a practicing Muslim, and resides in a community where she is both a minority and an outsider. She deals with all that on top of being a teenager. Even before she gets her powers, Kamala deals with her share of struggles. Even with all the controversies surrounding diversity in media, Kamala stands out as someone people of all backgrounds can relate to and cheer for.

This sets a celebratory tone for Ms. Marvel #31, which marks the 50th overall issue of the series since its debut in 2015. While fairly recent in the context of the Marvel Universe, which spans five decades and multiple Secret Wars, Kamala Khan's impact still stands out more than most. To celebrate that achievement, G. Willow Wilson gathers a sizable cast of writers that include Saladin Ahmed and Rainbow Rowell to tell a story befitting of that growth. The fact it happens in the context of both a slumber party among teenage girls and a milestone issue only seems too fitting.

In the context of a milestone issue for a teenage superhero, a slumber party is a fitting setup. It gives Kamala a chance to be Kamala instead of Ms. Marvel for a while. She assembles several female friends who have become important supporting characters to her story over the course of 50 issues. Nakia, Mike, and Zoe may not be on the same level as a Bucky Barns, Harry Osborn, or Pepper Potts, but they bring something important to Kamala's persona and not just because they also happen to be teenage girls.

Every superhero, especially the ones still in high school, goes through their share of hardship and melodrama. Being a teenager is hard enough, but being a hero on top of that just compounds every issue. The weight of that stress gets to Kamala more than once over the course of 50 issues. The past several issues really add to the strain by including romantic issues with her long-time friend turned love interest, Bruno. That gives a non-superhero gathering with her female friends a sense of urgency.

Beyond simply enjoying some sense of normalcy, it gives Kamala a moment to reflect and even lament a little. Wilson conveys the impression that Kamala needs that cathartic moment and she needs the support of her friends. Many heroes either struggle to make that effort with their allies or just never get the opportunity. It has the potential to be therapeutic for Kamala. Unfortunately, complications emerge, but in a way that's both entertaining and reflective of why Ms. Marvel is such an endearing story.

Even in the comfort of her own home, surrounded by friends and her mother's cooking, Kamala ends up having to be Ms. Marvel for multiple conflicts over the course of the night. These conflicts range from dealing with an angry Inhuman to teaming up with Miles Morales to chasing two teleporting animals through an alien planet. It never gets too dire. Some of the plots are downright cartoonish, but they maintain an appropriate undertone.

Kamala makes clear from the beginning that she wants to have one night where she doesn't have to be a hero, but she keeps getting pulled back into it due to forces beyond her control. The responsibilities of being a hero don't leave her, no matter how much she tries to catch her breath. She still never hesitates to act heroic, either. She doesn't even whine about it, which already makes her more mature than Peter Parker ever was at her age.

While some of these heroic efforts frustrate her, they also result in moments that demonstrate why Ms. Marvel is a lovable character who's worth rooting for. She's not just the kind of hero who fights villains and occasionally crosses paths with giant teleporting dogs. She's someone who tries to overcome a struggle with tactics that don't just involve punching things with an oversized fist. They don't involve comedic wisecracks, either. Again, she several steps ahead of Peter Parker in that respect.

Like Superman and other heroes that embody an ideal, Kamala will actually sit down with someone and talk to them before they descend into villainy on par with the Red Skull. She'll try to connect with them on a personal level. She'll make a genuine effort to help them and it always comes off as sincere. Kamala isn't the kind of person who just tells people what they want to hear so they'll stop smashing things. She genuinely cares. At a time when every other superhero seems jaded after one too many battles with Hydra, it helps her stand out.

These moments do plenty to derail Kamala's efforts to have a simple slumber party with her friends, but they never complicate the overall story. It remains remarkably concise, creating an over-arching theme around the current state of Kamala's struggle. She's a hero and a teenage girl. Her efforts to balance that have a lot of room for improvement. Throughout the story, there's a sense that she doesn't improve as she could have, but she still does more than most superheroes and teenagers, for that matter.

It culminates in a moment where Kamala decides to throw another complication into her superhero/teenage life. She takes a chance that most teenage heroes avoid in hopes of regaining some semblance of balance. The results aren't too surprising, given the strength and competence of Kamala's cast, but they're still satisfying. There's a sense that this is another defining moment for a young hero.

Ms. Marvel #31 doesn't attempt to reinvent Kamala Khan or redefine her identity as a hero. She's still the same lovable character she was before she got her powers. She's still growing and has plenty of room evolve, but her accomplishments over the course of 50 issues are still astonishing on multiple levels. That kind of achievement is certainly worth celebrating. A single slumber party may not entirely do it justice, but it's a good start.

Final Score: 8 out of 10

Strength In Numbers With Youthful Idealism: Champions #16

The following is my review of Champions #16, which was posted on PopMatters.com.

Any gambler not named Remy Lebeau knows there's a time to fold, a time to double down, and a time to re-evaluate one's bluffing skills. So long as they're not down to their last penny, it's usually wise to know when the odds just aren't favorable anymore. Young superheroes, especially those still in their teenage years, face greater odds than most. At the same time, however, they have the benefit of not being too jaded to throw away their ideals the same way Peter Parker claims to give up being Spider-Man every now and then.

Youth may inspire the kind of wide-eyed optimism that makes most jaded adults roll their eyes. However, that's exactly what makes teams like Champions so endearing. They live in a world where adult superhero teams have waged a civil war on one another twice. They regularly see established heroes like Captain America fall prey to sinister influences like Hydra while villains like Magneto somehow manage to operate with some semblance of credibility. These are some pretty mixed messages, especially for impressionable youth.

Mark Waid and Hamberto Ramos don't shield the members of the Champions from those messages. In fact, confronting those heroic inconsistencies of the modern Marvel universe is a major theme of Champions, as well as a major appeal. This cast of younger, less jaded heroes want to cling to those superhero ideals that seemed to go out of style since the Frank Miller era. The world around them isn't making that easy. If anything, that world keeps upping its bets and skewing the odds.  

Champions #16 has these idealistic young heroes respond by having them go on a recruitment run. Considering the events of previous issues, which included crossovers and clashes with the far less idealistic adult Avengers, it comes off as strange, if not too soon. From the perspective of young, teenage heroes who cling ardently to their idealism, though, it makes perfect sense. Tragedy and drama may hit adults and teenagers equally hard, but teenagers will often find more creative ways of dealing with it. Those ways aren't always healthy or rational, but that's exactly what makes them endearing.

The tragedy and drama in this case has to do with the recent upheavals surrounding Viv Vision. Even by advanced android standards, she's in a strange position. After the Champions and Avengers' recent clash with the High Evolutionary, there are now two versions of her, one human and one android. It's an identity crisis that's unprecedented, even in a world full of clones and shape-shifting aliens. Neither version is able to make sense of the situation. Viv's teammates don't fare much better.

There's now a sense in Champions that the team is more vulnerable than it was when it began. It's not just because one of their members is a time traveler who could trigger a paradox with one bad decision. The events surrounding Viv painfully demonstrate that there are times when the team becomes fractured. There are moments when personal dramas hinder the team's ability to function. It's a problem adults face too, but adults are more inclined to stick with what works and preserve the past. Teenagers, not having much of a past to begin with, look to the future.

That's the underlying theme of the narrative that Waid crafts in Champions #16 and Ramos' colorful visuals make it feel optimistic, despite the dramatic circumstances. Despite the seriousness of these circumstances, Waid preserves the light-hearted, upbeat tone that gives Champions much of its appeal. Throughout the story, the fact that these are still teenagers never becomes lost. They see what happens to their friend. They don't make light of it, but they still move forward.

That part of the story works to the extent that it lays the foundation for more interactions between the Champions and other young heroes. While Viv heals, their recruiting run leads them to cross paths with the likes of Moon Girl, Red Locust, Iron Heart, and Patriot. Some of these characters have crossed paths with the Champions before. Like the Champions, though, they respond to the message because they too lack the jaded mentality that plagues older heroes.

It's a golden opportunity for young heroes to come together and remind older heroes that there's still room for the kind of wide-eyed idealism that most superheroes lose in their first year. Unfortunately, little of that opportunity is realized in Champions #16. The recruitment run does get off to a good start, but there's not much depth beyond just interacting with other young heroes. Some, like those with Moon Girl, fit the spirit and character of the story. Others, like the moments with Iron Heart, don't really contribute much.

That lack of depth is partially due to the unfolding side-plot surrounding Viv. In many respects, this plot carries with it much heavier drama. Viv's identity crisis and sense of self are in flux. There's a lot of internal conflict that plays out in between interactions with her android self and Vision. Some of it still echoes with the kind of teenage melodrama that is so distinct of Champions. Most of it, though, comes off as detached narration.

The intent is clear throughout the story, both with Viv Vision and the Champions' recruitment drive. It's the execution that leaves much to be desired. Both elements of the story have the right dynamics, but both end up feeling incomplete. It gives the impression that the story needed to be at least twice as longer for the necessary elements to play out. It makes Champions #16 feel somewhat truncated, even if the potential is still there.

The idealism and appeal of Champions never wanes, even in light of major upheavals, both personal and circumstantial. That remains one of the greatest strengths of the series. It's realizing the potential of the various plots and sub-plots that keep it from having the kind of impact that teenagers and adults alike can appreciate. Even if both are destined to end up jaded, the appeal of the idealism espoused by young heroes remains as strong as ever.

Final Score: 5 out of 10

Idols, Ideals, and Reminders: Generations: Captain Marvel and Ms. Marvel #1

The following is my review of Generations: Captain Marvel and Ms. Marvel #1, which was posted on PopMatters.com.

Whenever a fan meets their icon, there's usually an unpleasant moment when the fan makes a stunning realization. Their idol, for all the hopes and dreams they embody, is still human. They make mistakes, they get hurt, and they become corrupted by a situation. For overly passionate fans, it can be pretty devastating, finding out that an idol has those flaws. It's often a harsh lesson in the real world, which tends to crush idealism the same way the Hulk crushes compact cars.

Since her inception, one Kamala Khan's biggest appeals is that she's an unapologetic superhero fangirl. She sees superheroes through the same rosy prism as kids and fans. To her, they are icons who embody certain ideals. Before she gets her powers and dons the title of Ms. Marvel, that perspective is pure and untainted by the harsh circumstances of life. Then, she gets her powers and Civil War II happens. Suddenly, her idol isn't very heroic anymore. If anything, she's too human to wield that title.

Kamala's world is shaken, but not broken. She still calls herself Ms. Marvel. She still tries to be the kind of hero she idolizes. In both her solo series and books like Champions, those efforts tends to yield mixed results most of the time. It seems every battle she faces brings her that much closer to losing that sense of idealism that defines her character.

That's what makes Generations: Captain Marvel and Ms. Marvel #1 so timely and relevant. It gives G. Willow Wilson a chance to reconnect Kamala with a younger, less compromised version of Carol Danvers. She gets to interact with a version of her idol that is not compromised by the events of Civil War II. It's her chance to re-learn and possibly re-define her understanding of a hero.

Wilson puts her in a position to do that and then some. Kamala, whose perspective acts as both necessary narration and witty banter, finds herself in a similar position as other characters who taken part in Marvel Generations. Through the Vanishing Point, she ends up in the past during a time when Carol Danvers is on nobody's list to headline a major crossover event. She's still Ms. Marvel, a hero who is still trying to prove that she belongs on the same level as Captain America, Thor, Iron Man, and everyone else who goes onto be part of a billion-dollar movie franchise.

Whether by chance or McGuffin-style workings of the Vanishing Point, Kamala finds herself joining Carol in this effort and not just in terms of fighting alien invaders. Through a setup that doesn't entirely make sense, but still works, she becomes an intern at Woman Magazine where Carol works. It's a unique period in Carol's story it's a time when she tries to build more of a civilian life, like the Peter Parkers of the world. While it may be a doomed effort to anyone with alien DNA, it's an important context for both Kamala and the story of Ms. Marvel, as a whole.

In a sense, it shows Carol trying to do what female superheroes and real women alike struggle to do. She's trying to have it all, being both Ms. Marvel and Carol Danvers. It's a struggle Kamala herself deals with every other issue and Wilson rarely lets her catch her breath. It's also a struggle that Carol doesn't really deal with as Captain Marvel, but that struggle still shapes her story. Making Kamala, the future Ms. Marvel, a part of that story gives it even greater meaning.

Unlike some of the other stories that unfold in Marvel Generations, Wilson takes a more personal approach to Generations: Captain Marvel and Ms. Marvel #1. It's not just about Kamala Khan and Carol Danvers fighting alien invaders and working with J. Jonah Jameson without going insane. The story of Kamala sharing her perspective with Carol and seeing her idol outside the context of Civil War II makes the story feel personal. It effectively circumvents the tension between the two characters in the present and shows that they both share a legacy.

In terms of Kamala's personal story, it's a critical insight. It doesn't necessarily re-define her understanding of what it means to be Ms. Marvel as it does remind her of why that title matters to her. Throughout the story, her thoughts reveal her various sentiments towards Carol Danvers. She's still an icon in her eyes, but she doesn't ignore how she has been functioning without her idol since Civil War II. That doesn't stop her from joining her struggle.

Being part of that struggle helps Kamala overlook some of the things that shattered her idealistic view of Carol Danvers. In a sense, that's a major oversight and a missed opportunity. By not digging deeper into the reasons why Kamala distances herself from her idol, the story in Generations: Captain Marvel and Ms. Marvel #1 doesn't accomplish as much as it could have. It also mutes the potential drama that helped make other iterations of Marvel Generations so meaningful.

In addition, it doesn't help that the flow of the narrative is a bit messy at times. There's a couple instances where there are no obvious transitions from one scene to another. On one panel, Kamala walking the streets of Midtown Manhattan. The next, she's at the Daily Bugle being yelled at by J. Jonah Jameson. Granted, Jameson rarely needs a transition to yell at someone, but it makes the story feel choppy at times. Even with Paolo Villanelli's vibrant art that highlights Ms. Marvel's distinct style, the story never comes off as very concise.

It still manages to accomplish something important for Kamala Khan and Carol Danvers' story. It effectively ties their ongoing struggles with one another. Carol is trying to have it all as both Carol Danvers and Ms. Marvel. Kamala is doing the same thing in her time. It's an ongoing struggle for both, but working together in Generations: Captain Marvel and Ms. Marvel #1 gives them both some needed perspective. They even earn praise from J. Jonah Jameson along the way and in the context of the greater Marvel universe, such an accomplishment ranks right up there with beating Thanos.


Final Score: 6 out of 10

Digital Dynamics With Analog Antics: Ms. Marvel #17

The following is my review of Ms. Marvel #17, which was posted on PopMatters.com.

A young hero trying to protect their identity is one of the oldest, most endearing narratives in superhero comics. From a literary standpoint, it's the equivalent of rescuing a princess from a dragon. Young heroes, especially, endure this narrative more than most. Typically, they have a lot more to lose and a lot more to manage. Fighting a dragon is hard enough. Fighting it with the knowledge that there's a history exam the next morning makes it even harder.

While Peter Parker has been the poster child for protecting a secret identity for nearly half-a-century, Kamala Khan is very much the new gold standard for young heroes with a lot to lose. Like Peter Parker before her, she struggles to manage being a superhero with being an ordinary teenager, who also happens to be a minority in a society that isn't that supportive of minorities. These struggles embody the heart and spirit of a young hero trying to juggle having a real life and a superhero life. Kamala, being a minority, has to juggle more than most.

Since Kamala's superhero life as Ms. Marvel began, G. Willow Wilson has gone out of her way to make her story feel relevant and modern. Ms. Marvel isn't the kind of hero who still takes Polaroid pictures or uses a phone booth to change into her costume. She's a teenager who knows how to use a smartphone, is active on social media, and plays online video games. That means the narrative surrounding a young hero protecting their identity needs an update too and that's exactly what Ms. Marvel #17 brings to the table.

Kamala's life as a superhero is on the line. A digital enemy named Doc.X is threatening to expose her double life to her friends, family, and everyone with an internet connection. In many respects, that's far more dangerous than J. Jonah Jameson publishing photos of Spider-Man without his mask. At least with a newspaper, there's less chance of a compromising photo becoming an internet meme.

The danger Kamala faces has been escalating for several issues now and Ms. Marvel #17 acts as a last ditch effort, of sorts. Since Doc.X isn't a killer robot she can punch, she has to get creative. In this case, being an overly-idealistic teenager who spends a lot of her free time playing video games actually works in her favor. Those looking for Captain America to punch a Nazi or Iron Man to blow something up may be disappointed, but those looking for something different will find it here.

Wilson continues the tradition of creating non-traditional threats for Ms. Marvel. These threats aren't always just criminals looking to swipe a wad of bills from an open cash register. They're a different kind of threat that younger generations understand more than those whose primary fear was being mugged in a dark alley. A threat like Doc.X is even scarier than that for most millennials because it threatens both their digital life and their real life. Insurance can cover a stolen car. It can't cover the cost of exposing someone's darkest secrets.

Ms. Marvel knows this because Doc.X already exposed the secrets of one of her friends, Zoey. It's not a trivial secret either. Zoey was a closeted lesbian until Doc.X comes along. Wilson shows just how devastating this kind of exposure can be. It acts as a dire warning of sorts to Kamala because if that's what it can do to someone just trying to hide their schoolyard crushes, then there's no telling what it can do for a superhero trying to maintain a closet identity.

The stakes are very personal. Some of Kamala's friends are already suffering because of it. The emotional undertones are there for Ms. Marvel. When it comes to actually fighting Doc.X though, the story does somewhat falter. That's not to say it falls flat, but it doesn't exactly hit with the same epic overtones that comes with fighting the Red Skull and an army of Nazi Hulks.

It helps that Ms. Marvel adapts her tactics, enlisting the help of fellow gamers and flipping the script on Doc.X. However, the way those tactics play out is lacking in substance and requires that a lot of other things happen off-panel. Some of those off-panel happenings are actually more intriguing than anything Ms. Marvel does, but it's never shown how that actually plays out. It's only shown that it works just enough to get Doc.X out in the open.

Eventually, there is a final boss battle of sorts. Kamala does get a chance to actually punch Doc.X. However, it's a battle that is over way too quickly and never gets a chance to generate much excitement. For a story that sets up such high emotional stakes, which is the cornerstone of Ms. Marvel's appeal, it makes for a rushed and unsatisfying conclusion. Beyond the emotional backdrops, Ms. Marvel #17 doesn't just deliver the kind of impact that gives the overall story a sense of weight.

There are still some wholly relevant themes, both for the traditional superhero narrative and a younger generation whose concerns are more likely to emphasize WiFi speeds over petty crime. Ms. Marvel still has that appeal. G. Willow Wilson makes Ms. Marvel a uniquely appealing hero by blending these narratives. For this particular story involving Doc.X, the blend just isn't there.

Ms. Marvel is still a character that plays into the sensibilities of the millenial crowd, much more so than traditional heroes like Spider-Man and Captain America. It does make her distinct. It makes her stories distinct as well. For those who just want to see the Hulk smash things, those stories aren't going to carry the same weight. They will, however, offer something different.

That's the most Ms. Marvel #17 accomplishes. It's different. It's relevant. It's a story with problems that can't be solved with punching, smashing, or one of Tony Stark's fancy gizmos. Even if that's all it accomplishes, it still ensures that Ms. Marvel will resonate with a new generation that fears more than just killer robots.

Final Score: 5 out of 10

Aspirations For Inspiration: Champions #6

The following is my review of Champions #6, which was posted on PopMatters.com.

Seeking to inspire others to do good is one of the most fundamental acts of heroism that any superhero can do. Superman inspires by embodying an ideal for humanity to aspire towards. Captain America inspires by embodying the patriotic spirit that emboldens and strengthens an entire nation. Deadpool inspires by embodying the power of tacos and machine guns. These are among the most basic traits of a hero and after Civil War II, the entire Marvel universe needs a refresher course.

That's what Mark Waid and Hamberto Ramos are doing with Champions, getting back to basic and showing the rest of Marvel's superhero community that there are better ways to do good and they don't require superhero civil wars. Ms. Marvel, Nova, Spider-Man, Cyclops, Hulk, and Viv Vision are all uniquely qualified to teach this lesson in that they're young, idealistic, and haven't been revealed as Skrulls or Hydra agents yet. Beyond being diverse, coming from many different backgrounds and even different time periods, they are essentially a disaffected generation that sees what's happening with established heroes and think there's room for improvement.

It's a common spirit that pervades inexperienced youth. They see the flaws of the older generation and think they can do better, but the cast of Champions accomplish much more than any hippie protest or online petition. They embody a spirit often gets muted by politics, bureaucracy, or one too many retcons. This eclectic cast of young heroes aren't quite that jaded just yet, if only because they haven't dealt with SHIELD or Maria Hill enough.

The first several issues of Champions show this diverse cast coming together and establishing a standard for how they conduct themselves as heroes. That standard proves quite effective, leading to some meaningful victories and a kiss involving the Hulk. However, as often happens with many efforts involving ambitious youth, they encounter a few challenges and Champions #6 establishes the scope of those challenges, complete with relevant social commentary.

Now it's debatable how important these undertones are to the underlying themes of the series. There are any number of rants, tirades, and bemoaning that can be levied against a series that unambiguously reflects a particular political affiliation. Any comic that risks being vocal about any relevant issue risks agitating a world that would turn Superman into a Nazi if he says the wrong thing in the wrong context. That's the power of hashtags, phony outrage, and too much free time.

Regardless of how anyone may feel about social commentary in a comic book, Champions #6 shows that a certain level of social appeal can go a long way. Waid and Ramos make it a point to show how the Champions have influenced the world as a whole. They demonstrate how the Champions have created an entire social movement for all the right reasons with all the right impacts.

The Champions aren't just saving the day from monsters, human traffickers, and internet trolls. They're inspiring others to get up, embrace the Champion's principles, and do something. Given how much it takes to drag people away from their cell phones and jobs, that's quite an accomplishment.

Given how detached other superhero teams have become from the people at large, such an impact carries a great deal of weight for the greater Marvel universe. If a bunch of teenagers, one of which is a robot and another of which is a time traveler, can have this kind of positive impact, then those with helicarriers and space stations have no excuse.

Beyond that impact, though, the story in Champions #6 is just as much about the unintended backlash to this new superhero team as it is their success. The team is still coming together and Waid gives them a chance to show that they're still teenagers in addition to being heroes. Having them train through a game of paintball makes for a fun, light-hearted tone that even those who whine about the book's social commentary can appreciate.

From the perspective of the larger narrative, this kind of team activity doesn't raise the stakes or heighten the drama. However, it does flesh out the various personalities on the team and shows how they interact. Despite the diversity, they function as well as any group of teenagers armed with superpowers and paintball guns. They're not necessarily a dysfunctional family, but they're not the Fantastic Four either.

Those more light-hearted elements get balanced out when Waid explores the first major backlash that the Champions inspire. Such a backlash is always bound to happen and most teenagers have to learn the hard way that no good deed goes unpunished in the real world. In this case, the punishment hardly fits the deed because the Champions have no way of knowing how those with greater authority than a bunch of teenagers opt to react to their impact.

This is where the Freelancers come in. They are, in essence, the counter-punch to the movement that Champions have inspired. Much of Champions #6 involves introducing this team and establishing how they're going to undermine everything the Champions have accomplished. Like the Champions, they're a bunch of jaded teenagers with superpowers. Unlike the Champions, however, they care less about social commentary and more about their bank statement.

Waid reveals this in a somewhat elaborate manner. At first, the Freelancers give the impression that they're just a bit less ethical than the Champions. By the end, though, they make clear that they'll gladly rub elbows with big oil companies, Hydra agents, and tobacco lobbyists to improve their living standards. They care less about being a hero and more about making the most money with the least amount of effort and/or ethical constraints.

In the context of the major themes surrounding Champions, the Freelancers are the perfect adversaries. Waid makes this abundantly clear in Champions #6. However, this clarity doesn't come with any larger plot developments. A paintball game of super-powered teenagers is fun, but does little to expand their story. The only ones who get any real progression are the Freelancers and while their mission is fairly clear, their respective personalities are under-developed and overly forgettable.

Champions #6 still accomplishes and important feat for the greater narrative. It establishes what the Champions are up against and how their new movement of less civil wars and more heroics is creating an impact. Waid and Ramos to mix that impact with the fun of a paintball game. While the entertainment value of paintball is beyond dispute, the larger implications of the Champions' story remains underdeveloped and unresolved.

Final Score: 6 out of 10

Ambitious Humanization: The Mighty Captain Marvel #0

The following is my review of The Mighty Captain Marvel #0, which was posted on PopMatters.com.

Whenever there's a major war, it's only when the dust settles that we learn just how devastating the struggle really was. When wars end, there's usually a period of jubilation and celebration. The victors throw parades in the streets. The losers, while defeated and devastated, can at least let out a sigh of relief, knowing the bloodshed is over. That feeling, much like a victory parade, is often temporary. Nobody gives much thought to those who must clean up after that parade, figuratively and literally.

Captain Marvel is, by all accounts, on a winning streak. Ever since Kelly Sue DeConnick elevated her to the status of Marvel's Wonder Woman, Carol Danvers keeps jumping from victory to victory. Whether she's holding down multiple solo titles or inspiring new generations of heroes in Kamala Khan, it's pretty clear that she's doing okay for herself. Now with Brie Larson's star power and a movie set to debut in 2019, she's well on her way to carving her face on the Mount Rushmore of superheroes.

This ascension, however, is not without cost. No superhero ever became iconic or got to carve a giant statue of themselves without pushing a little harder and upsetting a few fans in the process. The narrative in Civil War II definitely checks all the boxes in terms of putting a price on Captain Marvel's ascension. It put her in a position to be either vindicated or vilified with very little gray area in between. As a result, she's no longer this universally praised symbol of girl power. She's a walking message board of controversy.

This presents a unique challenge for Margaret Stohl in The Mighty Captain Marvel #0. With the dust settling from Civil War II, what does this mean for Captain Marvel moving forward? How does she continue her ascent into that special place usually reserved for Captain America, Spider-Man, or any other hero that ever appeared on a lunch box? Stohl addresses this challenge by making a concerted effort to humanize Carol Danvers. For the most part, she succeeds.

The Mighty Captain Marvel #0 isn't built around the tried and true formula of having Captain Marvel punch, blast, and flex her way through a threat. For her story and her character to gain greater complexity, the plot needs more substance than style. The substance here paints a different, but intriguing picture of who Carol Danvers is and where she's at right now.

Civil War II effectively forced Captain Marvel to into a difficult role and in many respects, she still clings to parts of that role, even though it costs her some close friends. Stohl makes it a point to emphasize how much Captain Marvel wants to confront dangers before they blow up in someone's face. In the Marvel Universe, where everything from Thanos to talking ducks can randomly show up, this is not entirely misguided.

That element is key to making The Mighty Captain Marvel #0 work. It's also key in making Captain Marvel a balanced character. She never comes off as arrogant, angry, or petty. Stohl goes to considerable lengths to show how the outcome of Civil War II really haunts Carol, so much so that she's battling intense nightmares and crippling insomnia. Sure, she can deal with these issues by punching asteroids and arm-wrestling She-Hulk, but it still torments her. The very human side of her still shows.

This human side is emphasized far more than her Kree side. This makes the story work because it creates a conflict for Captain Marvel that she can't solve through punching. This requires her to use coping skills that ordinary humans who can't punch asteroid actually use. She enlists the aid of a therapist. She reaches out to her closest friends, namely Spider-Woman. She tries burying herself in her work. These are all skills that both a superhero and an overworked high school teacher can use.

This goes a long way towards humanizing Captain Marvel. She's more vulnerable here than she's ever been in a situation that didn't involve Thanos or a raging Hulk. However, that vulnerability never becomes too overplayed. When humanizing a character, it's easy to fall into the same trap that many Disney princesses stumble into. They become vulnerable so they either start crying or break out into song. Carol Danvers never does that here. Instead, she tries to grit her teeth and push forward. It's the kind of tactic that would've made Frozen and Brave a much shorter movie.

The humanization and vulnerability bring out the best in Captain Marvel, but it also highlights some of her flaws. Anybody who didn't side with her in Civil War II probably isn't going to side with her after reading The Mighty Captain Marvel #0. She never apologizes for doing what she did. While the loss of her friends haunts her, she doesn't regret the decisions that led to those losses. It creates a strange mix of tension within the character that's difficult to resolve.

That tension plays out in a narrative that isn't always cohesive. One minute, Captain Marvel is dishing out orders with Alpha Flight to aid in alien refugees. The next, she's in a diner with Spider-Woman in need of a hug. The sequence of events is a little choppy, but it never becomes chaotic. Emilio Laiso's artwork also does a lot to highlight the dramatic moments that gives this issue its impact.

For those wanting to see Carol Danvers punch and blast things in a large-scale cosmic conflict, The Mighty Captain Marvel #0 will be a disappointment. That isn't the story Stohl tries to tell here. Those looking for a story that builds on the dramatic shifts Carol endures during Civil War II will find plenty to appreciate in this issue. Any punching or blasting she does is just a bonus.

In many respects, this comic acts as an epilogue for Civil War II. Carol Danvers is such an ambitious character, wanting to do more than just tie up villains and throw them in front of police stations after they've committed a heinous crime. That ambition shows in both her ability to punch things and her desire to ensure the danger doesn't punch back. It sets her apart from many heroes and Brie Larson would be wise to reference The Mighty Captain Marvel #0 in preparing for this role.

Final Score: 8 out of 10

Heritage, Identity, and Idols: Ms. Marvel #12

The following is my review of Ms. Marvel #12, which was posted on PopMatters.com.

What happens when our idols fail us? That's a question we have to answer more and more these days when all it takes is an embarrassing tweet to undermine a reputation. Our idols may elevate themselves to levels most ordinary people can only dream of, but at the end of the day, they're still human. Sometimes, that humanity can make reality feel like a gut punch from the Hulk.

Over the course of Civil War II, Kamala Khan endured multiple gut punches from multiple proverbial Hulks. Her best friends push her away. Her idol, not to mention the inspiration for her life as a hero, betrays her ideals. On top of all this, she's still a Muslim-American teenage girl in Jersey City, dealing with all the messy complications that entails. Most teenagers have to make up excuses to be miserable and angsty. Kamala Khan needs none.

While the conflict in Civil War II is still unresolved, Ms. Marvel #12 skips a few steps to deal with the impact this conflict had on Kamala. It's an impact that affects every aspect of her life, from her role as a superhero to her role as a teenage girl trying to live her life in a world where Hulks die and famous Avengers are Hydra agents. There are all sorts of dynamics in play for this narrative, but it comes back to a central theme that further highlights all the things that make Kamala Khan so lovable.

That theme is true whether someone is Pakistani, American, Wakandan, Bolivan, Swiss, Russian, or Chinese. As teenagers, the biggest challenge after surviving high school and puberty is finding a place in the world where they fit in. Not fitting in is to a teenager what an arc reactor is to an Iron Man suit. It's a key component that powers someone's identity. Throughout Ms. Marvel #12, it's clear that Kamala's identity is in a state of uncertainty.

It's not enough for Kamala to just sulk in her room, as many teenagers are prone to do after a few very bad days. This isn't just failing a test, being dumped by a boyfriend, or getting on Maria Hill's bad side. This involves ditching the Avengers, watching her best friend abandon, and losing her faith in her idol. For this reason, she decides to get away. She decides to visit her family in Pakistan, if only to get away from SHIELD Helicarriers and Iron Man sightings.

It makes for some strong personal moments that explore Kamala's Pakistani heritage. For much of Ms. Marvel's brief history, a big part of her struggles involve being a Pakistani-American girl in Jersey City. The Pakistani part of that heritage easily gets lost when that struggle ties in with Avengers, Jersey City traffic, and American high schools. Ms. Marvel #12 goes out of its way to highlight the importance of this heritage to Kamala Khan's identity.

Her family, her culture, and her home country all contribute to giving Kamala Khan a break from secret identities, proactive justice, and superhero civil wars. Kamala literally has everything she needs to clear her head. She has her family's love, the hospitality of her home country, and no Hellicarriers in sight. She should be as relaxed as Captain America at a 4th of July parade.

Unfortunately, it's not enough. All this love, support, and hospitality is still not enough to make Kamala feel less broken. It's somewhat fitting in that it's symbolic of how many teenagers struggle. They can have all the right support from their home, their family, and their culture, but they'll still find a way to feel miserable and broken. In terms of the things that make being a teenager so terrible, it exceeds acne and standardized tests.

Much of Ms. Marvel #12 is spent establishing Kamala's life and heritage in Pakistan, but in the end she still goes back to being Ms. Marvel. She still sees injustice in the world and feels inclined to become a hero. It's a testament to the kind of character Kamala Khan is at heart. She can be broken, upset, and lost as any angst-ridden teenager in any part of the world. She'll still feel inclined to be a hero when a hero is needed.

Her heroics, in this case, are fairly basic. She gets to fight a kind of injustice that isn't typical in the streets of Jersey City. In the process, she meets another Pakistani hero named The Red Dagger who has the luxury of not being so torn. His presence lowers the stakes somewhat in that it lessens the need for Ms. Marvel's heroics. She still helps, but there's never a sense that her contributions are needed.

As such, there isn't much depth to this fight or any of the action in Ms. Marvel #12. G. Willow Wilson doesn't attempt to make it more epic than it needs to be. This issue is about Kamala Khan more than it is about Ms. Marvel. It succeeds in developing other, unexplored aspects of Kamala's character. It doesn't succeed quite as much in developing Ms. Marvel as a hero in the post-Civil War II world. However, developing both may be asking a bit too much of a teenage character.

The primary theme of the issue still works. The underlying message is both clear and relevant. Kamala Khan is in a state of transition. Like many struggling teenagers who don't understand or even want to understand the complexities of the real world, she struggles to find her place in it. She's still torn and conflicted, but Ms. Marvel #12 establishes that she's still a hero. More than anything else, she'll still strive to be a hero. With her idol having failed her, she's going to be that hero on her terms and it's hard not to cheer her on.

Final Score: 7 out of 10

A Fan Among Heroes: All-New, All-Different Avengers Annual #1

The following is my review of All-New, All Different Avengers Annual #1, which was posted on PopMatters.com.

The success of Deadpool proves there's a fertile market for a story that dares to be overly meta. It's not just about breaking the fourth wall or acknowledging the erratic sentiments of comic book message boards. The appeal of a meta-narrative acts as a mirror of sorts, reflecting the passions of fans, be they the healthy kinds and the not-so-healthy kinds.

Most fans agree that passions like Deadpool aren't exactly healthy. More often than not, they earn the same R-rating as his movie. That doesn't mean that a more PG-13 version of these passions is impossible. In fact, there's another character who embodies the best of these passions and doesn't need to make dirty jokes about it. That character, of course, is Kamala Khan.

There's a long list of reasons why Kamala Khan is such a lovable, endearing character. Chief among them is the fact that she's a fan. Before she becomes Ms. Marvel, she's just another passionate fangirl who loves superheroes and writes fan fiction . She is very much the embodiment of the passions of countless fans. That makes the setup in All-New, All-Different Avengers Annual #1 especially engaging because it offers insight into the fan fiction that reflects Kamala's passions for superheroes. That insight makes for a cartoonish yet uniquely entertaining narrative that inspires the fanboys and fangirls alike.

Some parts of that setup are built upon Ms. Marvel's current narrative. She's an Avenger now and rapidly ascending the ever-shifting hierarchy of the Marvel universe. She even manages to do it without time travel, clones, or someone dying. That alone is a testament to her strengths. Despite this, she is still a teenager and she is still woefully inexperienced. This means she constantly clashes with her teammates, especially her younger cohorts in Spider-Man and Nova.

This inexperience and immaturity, the foundation on which most teenage superheroes grow, makes her reaction to fan fiction stories about Ms. Marvel all the more entertaining. She can't be expected to just ignore the insanity that often manifests in fan fiction. She's a young hero who still isn't accustomed seeing her name associated with embarrassing, easily accessible media. After the events of  All-New, All-Different Avengers Annual #1, she'll likely need advice from Peter Parker.

The story is organized through several colorful, laughably cheesy stories written by multiple writers, including Mark Waid and G. Willow Wilson. They each act as a commentary of sorts on the colorful proclivities of fan fiction, such as tendencies to create bizarre romantic entanglements and making unpopular political statements. These stories never take themselves too seriously and aren't going to be confused with canon in this or any other universe. That's what gives them their charm.

It's because of that unique charm that these stories tend to evoke strong reactions. As some of these stories unfold, Kamala's reactions are almost as relevant as the story themselves. Take one story involving Ms. Marvel attaining the rank of Captain Marvel. At first, it plays out like a story that Kamala Khan would love. Then, an overtly politically incorrect twist at the end completely reverses her reaction. It's the kind of reversal that no competent editor will allow in a comic, but one that manifests all too easily in fan fiction.

Then, there's the story about She-Hulk and a love triangle. It's not a love triangle that would make it into an X-men movie, but it involves She-Hulk being woefully out-of-character in professing her love to a giant monster. It's as strange and entertaining as it sounds. It's also not-so-subtle commentary on the way love triangles play out, both in canon and in fan fiction. It doesn't take much to make them laughably absurd.

Despite this absurdity, it's the strange love story that involves Ms. Marvel, Miles Morales, and a world where everyone is an anthropomorphic animal that bothers Kamala the most. What makes this part of the story stand out is that, as quirky and cartoonish as it is, neither she nor Miles are completely out-of-character. It's another not-so-subtle comment about fan fiction. As crazy as it can be, it is possible for certain truisms to manifest within these absurdities.

These truisms play right into the meta themes of this story. In the end, Kamala Khan's sentiments are similar to those of fans. A few intriguing reveals at the end shows that she's not alone. It creates a larger message of sorts, one that implies that superheroes are aware of the quirky fandoms they inspire. Sometimes those quirks reveal genuine insight for these characters. It doesn't have to involve the bizarre quirks of fan fiction, but they do help get the point across.

For the most part, however, the quirky little stories in All-New, All-Different Avengers Annual #1 don't factor too heavily into Kamla Khan's reaction. Some are just pure entertainment value of the most absurd kind. At a time when Marvel is exploring the dire, depressing issues manifesting in Civil War II, this offers a nice reprieve, even if it doesn't tell a wholly cohesive story.

The lack of cohesion keeps the narrative from gaining any depth. In a story that explores the absurdities of fan fiction, there's only so much depth that's possible, but not much is realized outside a couple stories. Some of those stories may be quirky. Some are more forgettable than others. There's still undeniable entertainment value to be had. There's also an important message to convey.

The internet can and will annoy superheroes every bit as much as the villains they face. With All-New, All-Different Avengers Annual #1, Kamala Khan learns this the hard way. It's just one of many steps she'll have to take in her quest to become a better hero.

Final Score: 7 out of 10

Bracing for Heartbreak and Embracing it: Ms. Marvel #8

The following is my review of Ms. Marvel #8, which was posted on PopMatters.com.

Everyone has an inflated opinion of those they idolize. Those inflated opinions allow people to overlook flaws like Tony Stark's drinking, Spider-Man's irresponsibility, or Deadpool's crude sense of humor. For better or for worse, idols often become tied to identity. When one of those idols messes up in ways that make for great tabloid headlines, some take it as an affront to their identity. In this sense, Kamala Khan is setting her identity up for a beating.

Civil War II effectively drew the lines in the conflict. Now, targets are finding their way towards certain characters and Kamala Khan is at the front of that line. Few characters who aren't Spider-Man clones are as closely tied as Kamala Khan and Captain Marvel. Kamala Khan's entire persona as Ms. Marvel is built around her idolizing Carol Danvers. She is the quintessential fangirl and it shows in lovably humorous ways every time their paths cross. Now, G. Willow Wilson is setting Kamala up for a level of heartbreak that exceeds that caused by any Skrull imposter or Hydra agent.

Ms. Marvel #8 begins the process of tying Ms. Marvel's story into the larger conflict unfolding in Civil War II. It's a process that is destined to pit this young, aspiring hero against the idol who inspired her. The emotions surrounding this conflict are as volatile as can be without a Hulk being involved, but G. Willow Wilson doesn't focus on this initially.

Instead, Ms. Marvel #8 starts from the opposite end of the emotional spectrum. Wilson focuses on the hope and benefits of having someone who can accurately predict the future without the added complications of time machines, stage tricks, or excessive phone bills. Just like Civil War II #1, these benefits manifest in major ways for Ms. Marvel. However, just like Civil War II #1, the fine print in these benefits promise to send her to the other end of that emotional spectrum and that end comes with a lot of pain, as War Machine can attest.

Captain Marvel, her trusted idol, tasks Ms. Marvel with making use of Ulysses' foresight. This means she gets her first team of side-kicks, an important milestone for any superhero not mentored by Bruce Wayne. Thanks to these new resources, she is able to stop the leader of a Canadian syndicate of ninjas from going on a rampage in a tank. The basic details of that scenario sound so absurd when said out loud, but they are a testament to the kind of cartoonish conflicts that make Ms. Marvel's narrative so much fun.

The fun doesn't last though. As often happens with teenagers trying to change the world for the better, they trip over some unpleasant realities along the way. Ms. Marvel finds herself treating potential crimes as actual crimes, something every non-Hydra version of Captain America would have problems with. However, Ms. Marvel still believes in the greater good that this method offers. She still believes in her idol and cherishes the trust she places in her. It's like having the keys to all of Tony Stark's cars. It's not easy to give up.

It reflects one of G. Willow Wilson's most effective tactics in making Ms. Marvel such a lovable, endearing hero. She sets Kamala up for heartbreak and disappointment, but she does it in a way that has a powerful emotional impact. That impact is perfectly consistent with the ongoing themes surrounding Civil War II and the themes that make Ms. Marvel such an impactful character.

Wilson effectively uses the opposite approach that slasher movies use with stereotypical jocks. She creates this narrative where its hard not to root for Kamala Khan and her ideals. Her heart is in the right place. Her ideals are respectable. She sees the world through Disney-like ideals. It's clear that those ideals are destined to shatter under the weight of the real world, but even though the outcome is hardly surprising, the emotional undertones are clear.

Those undertones are largely driven by Ms. Marvel's adulation of Captain Marvel. This adulation goes back to before Kamala Khan got her powers. She builds her entire superhero identity around the ideals the standards that Captain Marvel sets. In the same way fans of Spider-Man don't want to believe that he would make a deal with Mephisto, Ms. Marvel doesn't want to believe that Captain Marvel is on the wrong side of a conflict. It makes the looming heartbreak even more powerful. Kamala might even need counseling from Mary Jane Watson when the dust settles.

The emotions and drama mix well with battles involving Canadian ninjas hijacking tanks. G. Willow Wilson also attempts to add a more contemporary context on the whole Civil War II conflict, exploring the history of Kamala's family and the historical conflicts within that history. However, this part of the narrative falls flat and acts as a distraction more than a supplement. Some details are relevant, but not enough to have a noticeable impact on Ms. Marvel's narrative.

There are other attempts that are slightly more successful. Ms. Marvel shows some discomfort in treating potential crimes as actual crimes, but it's not the kind of discomfort that a typical teenage superhero doesn't handle on a regular basis. Some parallels between Civil War II and the whole "tough on crime" era of the '80s and '90s come into play. Again, these efforts fall flat. It's only when the threat becomes personal to Ms. Marvel that the impact starts to manifest.

That impact and the undertones surrounding it remain the greatest strength of Ms. Marvel #8. It takes the larger conflict created in Civil War II and personalizes it. Like a bad movie teaser, it does somewhat spoil the outcome. Ms. Marvel is setting herself up for disappointment and heartbreak. All that idolizing and admiration for Captain Marvel is going to take a crippling gut punch. That punch is going to hurt, but it's worth enduring for certain characters. Kamala Khan is one of them.

Final Score: 7 out of 10

Ms. Marvel #8: Nuff Said!

Let's face it. At some point, our idols are going to have days where they'll be total assholes. I'm sure Mother Teresa herself had days where she woke up and wanted to punch the first person she saw. It's a big part of reality that sucks elephant balls. We're all painfully human and that includes our idols. Eventually, we all learn this and if we're exceedingly unlucky, we learn it the hard way.

Kamala Khan has a lot going for her. She's both a popular new hero and an Inhuman, which means she gets the kind of preferential treatment usually reserved for members of the Hilton family. However, even her inherent luck has to run out at some point and it looks like Civil War II is that point. The shit storm is already in full force. The stench finally reaches Ms. Marvel's doorstep in Ms. Marvel #8. How will she handle the kind of shitty luck usually reserved for mutants and the Fantastic Four? That's what I'm here to discern in as sober(ish) way I can manage.

Flashback to Captain America's time for a quick history lesson. For those who didn't sleep through history class or show up stoned, this probably won't reveal much. For those of us who had great weed connections in high school, it helps to provide context.

It involves the formation of Pakistan after India gained its Independence from snooty British types who got tired of riding elephants to compensate for the size of their dicks. Why is this important for Ms. Marvel? Well, she's Pakistani. Her entire family came from Pakistan and anyone who watches CNN sober for more than a few moments understands that Pakistan has its share of problems. A lot of them start with its founding and a lot of innocent people who just wanted some distance from snooty British types got caught in the crossfire. Kamala's family is one of them.

Without revisiting the complex politics of India and Pakistan, most of which require more Adderall and weed than I'm willing to take, there is a relevant purpose to this flashback. It depicts a time when people could no longer trust the friends and neighbors they've always known because they MIGHT screw them over. They MIGHT decide to be petty, vindictive assholes for no good reason. It's the basis behind almost every kind of racism, border clash, flame war on message boards. It's one of mankind's less attractive birthmarks to say the least.

There's a nice bit of genuine human drama, something G. Willow Wilson loves to inject in all her stories. It adds a genuine personal touch that will resonate with all non-racist types. It's also fittingly relevant, given how the events of Civil War II is built around what some asshole MIGHT do rather than what they actually do. It's a bad sign for Kamala. For those of us who like to see Kamala confront tough situations and punch them in the dick, it's as good a sign as any.

Flash forward several decades, sift through a few stock market crashes and Presidential scandals, and we catch up with Ms. Marvel. At the moment, she's as happy as a stoner in a potato chip factory. She just got called to Alpha Flights awesome space station base by her idol, Carol Danvers. It's the equivalent of Jennifer Lawrence asking me to have a beer with her. She's understandably giddy.

Then, she learns about brewing shit storm from Civil War II. This is before it gets so bad that Iron Man and Captain Marvel want to choke each other out in the least sexy way possible. This is when the idea of having someone who can accurately predict the future seems like such a good thing. To Carol, it is and she wants to make use of it. Moreover, she wants Ms. Marvel to be at the front of the line in turning Ulysses' predictions into results that save lives. Naturally, Ms. Marvel has almost no reservations. Her idol is asking her to save lives and be more awesome. That's like Ryan Reynolds asking me to smoke weed with him. You just don't say no to something like that.

Captain Marvel doesn't send Ms. Marvel into the shit storm without some rubber boots either. To make use of Ulysses' predictions, she assembles a team for her. Granted, that team isn't exactly an army of Wolverine clones, but it's better than nothing. Ms. Marvel loves it because it means she has graduated to having side-kicks. Unlike Aquaman, hers don't include talking dolphins. They're basically a bunch of idealistic, hipster types with only a fraction of the douche-baggery. They're willing to work with her to actually make a meaningful difference in places like Jersey City, which is more than 99 percent of most hipster types can say.

Their first assignment involves the leader of the Canadian Ninja Syndicate, Hijinx. No, that's not a joke from Family Guy. Apparently, he's a real character. Even at my most stoned, I could never come up with something like that so whoever is selling weed to Marvel, please keep selling because this leads to Canadian Ninjas stealing tanks. It's every bit as awesome and fucked up as it sounds.

A ninja in a tank is like killer cyborg with a built-in flamethrower. It combines two kinds of deadly shit and makes both more deadly. However, Ms. Marvel and her sidekicks have the edge. They learn from Ulysses that this guy is doing to do a lot of crazy shit, as is to be expected with any mentally unstable asshole in a tank. They also learn that this tank will explode in the middle of Jersey City if they don't stop it. On paper, it's a perfect use of Ulysses' powers. They're not trying to win the lottery or create some Back to the Future II scenario. They're trying to save lives.

It leads to a fun, colorful clash the likes of which make so many issues of Ms. Marvel memorable. Where else are you going to see a Pakistani American teenage girl beat the shit out of a Canadian ninja? Since Ms. Marvel's team has foresight on their side, Hijinx doesn't stand a chance. In fact, he's genuinely surprised that someone caught up with him before he could do much joyriding. He didn't even know it was set to explode. Thanks to Ms. Marvel, he does no greater damage than a drunk redneck in a pickup truck driving down a deserted road. Given the road conditions in certain parts of New Jersey, most people probably won't notice.

It's another clear epic win, thanks to Ulysses. We saw it in Civil War II. Now, Ms. Marvel gets a taste of it and just like before, it all seems so clean and efficient. It's still kind of fucked up, heroes saving the day without destroying half a city. Maybe it's just a big middle finger to everyone who bitched about Avengers and Man of Steel, but it sends the same powerful message. Having foresight makes kicking ass insanely efficient.

Sadly, Ms. Marvel gets a major buzzkill from her triumph, courtesy of her friend Tyesha. In terms of friends, she strikes me as the kind that flushes your weed down the toilet when the mailman knocks on the door. That said, she brings up a few uncomfortable nuggets with Ms. Marvel. Apparently, Hijinx is going to be tried for shit he might have done with that tank and not just the shit he actually did. Tyesha rightly points out the parallels between this and the whole tough-on-crime shit that certain places endured during a time when Bill Clinton was getting a few too many blowjobs.

It's a relevant issue and one Kamala can't ignore. There are real-world examples of people being charged with shit they might have done and most of that shit is just thinly veiled racism that even the most ardent Trump supporters can see through. Being a minority herself, which is something Captain Marvel can't say being a hot blonde, it bothers Kamala. However, she still sides with her idol and the side of saving lives. That makes sense. She's a teenager. She hasn't yet learned the extent to which authority types will go to screw minorities over.

Ms. Marvel continues to operate Captain Marvel's new team, using Ulysses' predictions to stop crimes before they happen. This includes roughing up some guy who was just thinking about robbing a grocery store. Yeah, he was just thinking about it. As someone who thinks about a lot of dirty shit when I haven't had my coffee, this bothers me. However, Ms. Marvel still isn't bothered enough to step back. Then, her team shows up and says there's a much bigger shit storm on the horizon and it involves her school. Bear in mind, this is the same school that was infested with Loki's golems at one point. They've already endured one too many shit storms and Ms. Marvel isn't about to let another one pass.

That's when she finally gets the kind of dramatic gut punch that every teenager gets at some point. For most, it's being rejected by a prom date or finding out the cost of going to college. For Kamala, it involves one of her friends and classmates being the catalyst for the coming shit storm. Specifically, it's Josh, a recovering douche-bag from the early issues of this series. That means to prevent a crime, Kamala Khan may have to screw over a friend who is actively trying to not be an asshole anymore.

In terms of tough positions, this one couldn't be tougher without grinding against John Cena's chest muscles. It puts Ms. Marvel in the kind of position that brings out the best in her, but it's also the same position that almost guarantees heartbreak. It's a tough lesson for teenagers to learn, heartbreak and tough decisions. At least Kamala Khan gets to confront this situation with her pants on. Some teenagers aren't so lucky.

So...is it awesome?

A big part of Ms. Marvel's awesome comes from her lovable, fangirl nature and this issue definitely captures that. More importantly though, it also captures the primary themes of Civil War II and puts them into practice. There's no debate, discussion, or bitching. The setup in Ms. Marvel #8 is that she still trusts her idol, Carol Danvers. She willingly puts her agenda into action and it has results. Then, it gets personal and just like that, she puts herself in a perfect position for a dramatic gut punch that Carol helps set up.

Once again, G. Willow Wilson is masterful in setting up drama and making Kamala Khan the most lovable character that isn't a talking animal or a singing princess. Her interactions with Carol Danvers bring out the best in her, but this time it puts her in a shitty position. It's like Buffalo Bills fans watching a replay of Super Bowl XXV. You know how it's gonna end. You know it's gonna hurt. Yet you still can't look away. Like a flaming pile of shit in the middle of the freeway, it's bound to be a spectacle for all the wrong reasons, but those kinds of spectacles are when Ms. Marvel is at her best.

Final Score: 7 out of 10

Living in a (Fleeting) Moment: All-New, All-Different Avengers #4

The following is my review of All-New, All-Different Avengers #4, which was posted on PopMatters.com.

There's a reason why the YOLO (You Only Live Once) meme became annoying quicker than a failed American Idol audition. As a concept, it's not inherently wrong. Despite what some world religions might claim, we only know for certain that we have one life to live. In the Marvel Universe, however, the concept becomes a bit more flawed and a lot more complicated.

It's not just because death in comics is a revolving door with a rusted lock. Because of retcons, reboots, and clones the concept of living in the moment might as well come with an asterisk. That still doesn't stop some characters from embracing the concept in a completely non-hipster type way. It's the primary lesson conveyed on All-New, All-Different Avengers #4. And it's conveyed in a way that even the cynical and the jaded can appreciate.

Mark Waid was tasked with assembling a new team of Avengers in the post-Secret Wars world. It sounds like a simple task, but when billion-dollar movie franchises are built on these teams, the stakes are a bit higher than placating fickle fanboys. Waid still rose to the occasion, creating a team of Avengers that includes familiar faces, rising stars, and a solid mix of diversity. While Glen Beck hasn't complained about it yet, it's a team that reflects a fitting and appropriate sentiment for 2016.

The first three issues of the series was a standard coming together story. It wasn't nearly as epic as a certain movie staring Chris Evans and Robert Downey Jr., but it didn't feel as overplayed as a certain movie starting Andrew Garfield. All-New, All-Different Avengers #4 offers the first real insight into how this new team of Avengers functions and it does so in a way that never feels like a bad reality show or a 60s era sitcom.

There's just a real insight into this new team that feels genuine and balanced. It's basically the complete antithesis of the team dynamics we see in Lethal Weapon movies. There are very different personalities with characters like Nova, Ms. Marvel, and Vision. However, those personalities find a way to mesh in a manner that never feels forced. They don't need a drill sergeant or football coach to whip them into shape. They're not the Cleveland Browns. They're the Avengers.

When they get a chance to demonstrate their competence as Avengers, they pass the test. They don't necessarily pass with flying colors, but when the enemy involved is Cyclone, the test is graded on a curve. He's no Red Skull. Even Hugo Weaving couldn't make Cyclone an intimidating threat. However, he does give this new team of Avengers a chance to shine. While the scope of their efforts are as generic as a traffic stop on the Jersey Turnpike, the battle against Cyclone reflects the new normal for this era of Avengers.

It's not just the diversity that makes this new team of Avengers feel appropriate. It comes back to those sensibilities that we, the society of 2016, have developed in recent years. It's no longer enough for the Avengers to show up, fight monsters, punch the Red Skull in the face, and tell kids to eat their vegetables. As the backlash against movies like Man of Steel have shown, modern audiences care about civilian casualties. Indeed, in an era when the failures of our heroes are more scrutinized than ever, society is much less forgiving of missteps and oversights.

The Avengers in this conflict go out of their way to protect the civilians caught in Cyclone's attack. It takes up a good chunk of the fight. While Cyclone eventually gets knocked out in the same tradition as the Red Skull, the emphasis on protecting civilians adds an important dynamic to what would otherwise be the superhero equivalent of a typical Tuesday.

Beyond the new dynamics of a diverse, civilian-focused Avengers, there is another moment that adds weight to an otherwise typical clash in the new Prime Marvel universe. It comes in the form of a kiss between the new Captain America, Sam Wilson, and the new Thor, Jane Foster. In this case, the cover isn't an elaborate form of trolling in the tradition of Action Comics #600 or Astonishing X-men #14. This kiss does happen, but it's not the kind of kiss that will appeal to the Twilight crowd.

This moment between Sam Wilson and Jane Foster is another keen reflection on 2016 sensibilities. It comes after both characters get reminded that they look nothing like Chris Evans or Chris Hemsworth. There are fans, even within the comic itself, that whine about Captain America and Thor not being the "classic" versions. It's the whining internet trolls of comic book message boards taking form and substance. However, Sam and Jane deal with it in the best way possible and it doesn't involve whining to a moderator.

The two characters kiss. They do so after Sam laments about living up to the high bar set by Steve Rogers. Jane, whose true identity is still a mystery to everyone on the team, understands that these are unreasonable standards set by unreasonable people who make unreasonable comments on the internet. The kiss is just a good way of reinforcing her point and shutting him up.

At the same time, however, it isn't conveyed as a kiss that will create Marvel's next big power couple. This is not their response to DC's efforts with Superman and Wonder Woman. At the very most, this is just an awkward kiss at the end of a junior prom. In the context of the story, this is probably for the best.

Over the past decade or so, Marvel has treated romance and iconic couples with the same tact and care as a Jerry Springer rerun. It's gotten to a point where there are no iconic romances left in Marvel's vast mythos. Some have been killed off, retconned out of existence, or denigrated beyond repair. Marvel has treated their most iconic romances with the same care a two-year-old treats bowl of pasta. They only know how to make it into a mess and neither Sam Wilson nor Jane Foster deserve such treatment.

This kiss and the dynamics built around it give All-New, All-Different Avengers #4 just the right impact. There's a sense of hope, albeit fleeting, that this team can function in 2016 in all its unique sensibilities. Mark Waid has taken a diverse cast with iconic names and made it feel genuine. Glen Beck may still protest at some point, but that would only confirm that this new team of Avengers is doing something right.

Final Score: 9 out of 10

Ms. Marvel #1: Nuff Said!

We live in an era where feels might as well be currency. There's a generation of kids who have gone to schools who will suspend your ass if you so much as hug someone in public. And pretty much any gesture towards any person of any gender in any situation can be construed as harassment if you're a big enough dick about it. That's what makes Ms. Marvel such a valuable mine for awesome. Kamala Khan has proven to be an ocean of feels. She proved that in the final days leading up to Secret Wars. Now that this multiversal clusterfuck is ending, Ms. Marvel #1 can get back to doing what she does best, giving feels to drunks like me and saving me a fuckton on weed.

So how much has Kamala’s life changed since the 8-month gap? She’s a freakin’ Avenger now. That’s right. A few years ago, she was just a nobody running around Jersey City in a mask. Now she’s fighting alongside Captain America, Iron Man, and Thor. That basically means 8 months is plenty of time for her to become awesome enough to join the Avengers. And she’s still not old enough to drive. She’s basically in the exact opposite position of the X-men. That’s how awesome her life is now.

Unfortunately, high school is still part of that life. She still has a secret identity to keep and friendships to maintain. At the very least, her school was rebuilt thanks to Tony Stark’s deep pockets. Plus, Loki’s golems stuck around. I admit high school would’ve been a lot more interesting if it had golems roaming the halls. Because let’s face it, golems aren’t even in the top 10 in terms of the most stressful shit teens face in high school.

Everything seems to be going well for Kamala. She’s with her friends. One of them is Zoe, who was once the kind of peppy cheerleader type that would get butchered first in every slasher movie. It seems her social life is on the up and up. Then she sees that Bruno, her best friend and the boy she kissed as the world was ending, has a new girlfriend.

As adults, seeing love interests swap spit with others is infuriating enough. For teenagers who live secret lives as Avengers, it’s like a punch in the kidneys while getting root canal by a drunk dentist. Kamala, already dealing with a lot of Avengers-related crap, reacts as well as any we can expect of a teenage girl. By that, I don’t mean she found the nearest pile of dog shit and threw it at him.

She avoids him at first. Eventually, they meet up in class and Kamala makes it clear that she’s pissed off at Bruno. She still exercises more restraint than half the girls in my graduating high school class. The fact that Bruno’s jaw is still intact makes him lucky. It leads to a difficult conversation, but one that is not nearly as hostile as it could’ve been. The fact that no bones are broken and no windows are shattered is a testament to Kamala and Bruno’s maturity.

It’s a painful recurring theme for the life of a superhero. Bruno flat out admitted he was in love with Kamala. They even kissed. Then, he kindly points out to her that she told him outright that she needs to focus on being a hero and not on being someone’s girlfriend. And when he finds someone else to swap spit with, it upsets her. Yeah, it’s the kind of petty jealousy that has existed in every teen movie John Hughes ever made, but they’re teenagers. Being petty and jealous is only a fraction of the overwhelming emotions teenagers experience. Just wait until they start paying taxes.

The conversation is personal and well-done. Then, they get an unpleasant distraction in the form of a billboard featuring Ms. Marvel’s image. Apparently, some yuppie developer used it showcase a fancy new development that appeals primarily to the hipster douche crowd with too much disposable income and an ass too small to kick. Short of a billboard for a cigarette company or for boner pills, I can’t think of a worse way for Ms. Marvel to have her image publicly degraded.

Naturally, she voices her outrage towards some douchey manager who looks like he came crawling out of Gordon Gecko’s anus. It’s just as effective as bitching about it on a message board. He basically explains to her that this development catering to hipster douche-bags is part of a revitalization effort and since Ms. Marvel is an icon and not a trademarked image, they can use it to sell their crap. Is it frustrating and a dick move? Yes. But is it illegal? No. Naturally, it pisses Kamala off even more. Between her friend hooking up with someone new and her image being tainted, this is a shittier day than most school days.

So what’s her response? It’s actually somewhat more meaningful than bitching about it on a message board. She dons her costume, breaks into the building, and finds out that this “revitalization plan” is an even bigger dick move than she thought. They don’t just want to knock over a few dilapidated buildings. They want to build over the entire city, use Ms. Marvel’s image, and presumably jerk off into a pool of orphan tears. They’re already acting like the pool is half-full when they kick out a former tenant. Doing this in front of Kamala, given the day she’s having, I’d say she’s well within her right to shatter a few kneecaps.

However, this isn’t a case of her beating up on a couple of semi-innocent business types. For some reason, these guys are armed with glowing energy sticks that look like they were stolen from Iron Man. They even have the kind of attack drones that I’m sure the Koch brothers use to protect their beach house. So if anyone had any doubts that this was just some simple redevelopment that some people bitched about, go ahead and throw them away along with any notion that hipster douche types have redeeming qualities.

Thankfully, the angry property owner helps her get away. She’s even nice enough to explain that she didn’t give permission for these hipster types to use her image. He believes her. The protesters that have gathered outside the development? Not so much. Oh yeah, that’s also happening, piling even more shit onto what has been a shitty day for both Kamala Khan and Ms. Marvel. Rather than face an angry mob alone, without the aid of the Avengers or a good lawyer, Ms. Marvel decides to shrink and get away. There’s just no reasoning with people who think you’re in league with some hipster douche business type.

She manages to catch up with Bruno and slip into an alley. With a protest going on, you would think that would be an important thing to discuss. But no. They’re teenagers. They first have to talk about who was kissing who and why. Yes, those priorities are fucked up. But again, their teenagers. Who they kiss tends to be as important as who they accept as friends on Facebook.

This is where the story ditches the whole douche-bag developer story and focuses back on Bruno. It’s a bit chaotic, but seriously. Who wants to know more about a douche-bag developer who uses Ms. Marvel’s image rather than dig into the juicy details of Kamala’s personal life? Anyone who answers that question sober knows the choice is obvious.

The way Bruno describes it, his meeting with this girl wasn’t stolen from a Julia Roberts movie. One day, Ms. Marvel is chasing a giant amphibian monster through the streets, which I imagine is basically a worse-than-average rush-hour in Jersey City. In the middle of the shit storm, Bruno’s ass is saved by a girl named Michaela Miller. Apparently, they go to the same school. And now, she’s saved his life. By teenage standards, that basically requires them to dry hump at some point.

There’s a surprising amount of detail put into Bruno’s relationship with this girl. Hell, there’s more detail and depth here than the last two Christopher Nolan movies. It’s almost like G. Willow Wilson put some actual effort into developing these characters. What a concept, right?

It’s somewhat generic, but it keeps drunks like me from making too many assumptions. Without any insight, I would just assume that this girl is a Skrull agent like anyone else that gets caught up in a superhero’s personal life. But even if she is a Srkull, the girl is a very likable person. And Bruno is actually honest with her, telling her about his feelings for Kamala and not keeping it a secret. Most teenagers wait for something to blow up in their face like a shit pie mixed with napalm before they learn keeping secrets is a bad idea. Bruno didn’t wait, showing he’s so mature that he’d NEVER end up on a shitty reality show on MTV.

While letting Kamala know that he’s found someone else is kind of a dick move, Bruno doesn’t make it a bigger dick move than it has to be. There’s a sense of genuine emotion. He makes it clear that he likes this girl and he wants to be happy with her. I’m still not convinced that this girl isn’t a Skrull agent of sorts, but I’m willing to give her a chance. T still means Kamala is going to be miserable for a while, but she’s still a freakin’ Avenger. She’s got what it takes to bounce back. That or she’ll kiss Miles Morales the first chance she gets.

So...is it awesome?

It's Kamala Khan wrestling with being a superhero, being a teenage girl, and being pissed off that her best friend hooked up with someone else. If you can't find awesome in that, then you need to find a better weed dealer. This series, like a Jennifer Lopez's ass in a twerking contest, never misses a beat and never stops being awesome.

It does get a little chaotic, but that's to be expected of every teenage superhero that just joined the Avengers. It even gets a little side-tracked, but it offers details and insight to a story that requires more effort than those other than G. Willow Wilson are willing to give. And unlike the Peter Parkers of the world, Kamala Khan is toughing through this chaos in a way that feels genuine and refreshing. A god-powered Dr. Doom couldn't make her less lovable. What hope does anyone else in Jersey City have?

Final Score: 9 out of 10